The noisy sounds in the theatre faded as the movie had already begun screening.
The earlier noise of opening and drinking sodas was too loud, leaving an impression. DeLong and Gray Enrick noticed that the two soda drinkers in front of their box had gone exceptionally quiet since the movie started, seemingly fully engrossed in its plot.
After watching the beginning, DeLong found it challenging to focus on the movie. From the moment he saw Michael Davenport's name in the writing credits, his impression of the film began to sink. After all, Michael Davenport's last film had significantly impacted New Line Cinema.
What? They didn't suffer much loss? How much time did the New Line Cinema distribution department spend on that film? A failed writer and producer who had just finished a disastrous movie didn't spend enough time and energy to learn from his mistakes and instead rushed to create another project. Countless past experiences in Hollywood proved that this was a road to ruin.
DeLong glanced around the box, noticing that many people shared similar sentiments.
Probably, they had the same thoughts as him.
Honestly, he only attended this screening because he had no current work and because Michael Davenport suddenly became good at building relationships. How should I put it? He was hard to refuse.
As for the film, DeLong was already disappointed after watching the first third.
The background setting was too absurd, the plot was abrupt and silly, and the logic didn't hold up. The writer and director's method was to portray two kids with extremely low IQs.
The younger girl was adorable, scoring an eight in appearance, but her character was unlikable. She was more of a hindrance than a help. Although she appeared smart, she was just a middle schooler, inviting trouble into the house and recklessly using a flashlight.
The older girl was attractive but a typical example of high grades and low ability. She wandered around for no reason, didn't stick with her family during danger, and only hid under the bed when trouble came. Did she think she was still a three-year-old?
This film had an even worse plot than "Survival in the Wild," it was not even worth criticizing.
Halfway through the movie, Bran Milner from Warner Bros. removed and slowly wiped his glasses. There were too many minority characters in this film: a Black man instigating conflict, an Arab couple with apparently essential roles later on…
This significantly diluted the main family's presence.
The white characters, on the other hand, were not likable.
The male lead was a shady businessman selling unreliable security systems, the female lead was useless except for screaming, the older daughter was a typical blonde bimbo, and the younger daughter seemed cute but had an ill-timed bleeding heart.
And those white neighbours? All unpleasant characters.
Such characters and plotlines would likely upset many white audiences.
Of course, not all white audiences would be upset. After all, more and more people seem to have double standards these days.
Does this film have value? Bran Milner, an experienced screening expert, had seen hundreds of films, not just Hollywood movies but also ones shot in the San Fernando Valley.
From a market perspective, this film scored around fifty points. Its success or failure took time to predict.
Its success lay in its tight pacing and well-crafted horror atmosphere that kept viewers on edge. Its failure was in its mediocre plot with nothing extraordinary.
Chris from Sony Distribution kept his eyes on the screen, habitually taking out a pen and notebook to jot down key points he noticed.
This "The Purge" had many flaws, likely because both the director and producer were novices, making numerous mistakes in some areas.
But the film's strengths were also prominent. The social background and the concept of Purge Night were very intriguing.
Thinking about those bastards in Washington, it wouldn't be surprising if the government came up with such bizarre strategies in the future.
He had done some research, and films that heavily criticized the Washington authorities often did well in the market.
From this perspective alone, the film had potential.
Gray Enrick also had a notebook in hand but hadn't written a single word since the film began. He didn't feel the need to.
This film had a lot of potential.
Halfway through, he was convinced of it.
"The Purge" might not be a masterpiece, but it was unique, and uniqueness was a selling point.
It had a good concept, blending elements of crime and family drama. The relationships among family members drove the story forward. The functionality of each character highlighted the oppressive atmosphere and the constant sense of crisis, showcasing a strong sense of realism and dramatic tension.
The character portrayals were well done. For instance, the main family was genuinely unlikable.
In his view, a film that could create one or more characters that viewers wanted to punch was bound to attract some audience.
Using minority actors for critical roles was also highlighted, such as the Black character who fought against terror and cruelty.
The two Arab characters also left a strong impression.
When Lionsgate was newly established last year, it conducted market research and found that the proportion of minority audiences in theatres had rapidly increased in recent years. Combined, minority viewers now account for over a third of theatregoers.
Could these numerous minority groups become potential viewers of the film?
Gray Enrick, coming from a lower social class, found the film increasingly appealing. The seemingly absurd background setting aptly reflected American society.
Today, violence is rampant across America. Social news was mostly about violent incidents. Not only in civilian areas but even in wealthy neighbourhoods, they felt increasingly unsafe.
Violence had become a national hot topic.
This film depicted societal violence, likely resonating with many viewers.
Michael Davenport had chosen a good theme, using a seemingly fictional setting to reflect the reality of American society. The final product was unique, with skilled editing and a well-crafted horror atmosphere.
Lionsgate's company strategy was to focus on horror films in the early stages…
"Hurry up! Hurry up!"
Suddenly, a voice interrupted Gray Enrick's thoughts. "Get up; I can't hold it anymore, I need to go to the bathroom!"
The person was seated close to the box on the first floor. Though not loud, the quiet theatre's voice clearly reached the second floor.
Many people in the box, including Gray Enrick, frowned.
Whether it's praise or criticism, any noise during a movie annoys others.
There are numerous annual examples of fights breaking out over noise in theatres, some even involving stabbings.
The film was at a tense moment, and many in the box glared at the two idiots.
"Can't you hold it?" Paul scolded Mario. "I've been holding it for a long time too!"
Mario squirmed. "I can't; I'll wet my pants! I shouldn't have drunk so much soda…"
Hearing this, Paul seemed to realize he couldn't hold it either and stood up. "Let's go, hurry!"
Gray Enrick was annoyed, glaring at the two on the first floor. He remembered these two idiots, who had been guzzling soda at the start.
Hmm? Suddenly, Gray Enrick noticed something interesting.
Even when heading to the bathroom, those two idiots kept their eyes glued to the screen as if they didn't want to miss a single moment of the movie.
They turned down a corridor, forced to face away from the screen, yet they chose to walk backward to keep watching the movie.
Seeing them clench their legs and struggle with their bladders while walking backward, Gray Enrick was moved. He picked up his pen and notebook.
This film really held a strong appeal for some viewers.